Andrew has done so many amazing things in his career. Check them out and read these words. You'll enjoy them!

ANDREW BRANDOU

Andrew Brandou is my main drinking partner. I was at his house last weekend for a drinking party and we decided to do this interview right then and there. I went in the studio and emailed him questions and then he went in and responded. We had drank a 12 pack and by the nights end - two bottles of vodka. I didn't edit this interview since we both wrote in 'drunk'.

Andrew paints under a few different names - the most recognizable being Howdy Pardner. He is a master of many different styles though I've only pictured one style here. Enjoy...

PC: Explain your history in art and make sure to mention the Simpsons.

AB: My history in art post college (attended Otis/Parsons, Los Angeles), includes work as a jack of all trades (including some illustration work) for Paper Moon, a freelance illustrator for the record industry (including work for A&M, Geffen, Dionysus, and Warner Bros.), and tons of animation work. Simpsons was just starting its second season when i was brought on, and i worked there for awhile, as well as on Rugrats, Spongebob, and Invader Zim. since 1990 in animation i've worked as lead color designer, animator, head of new technology, production designer and art director. I sorta skipped out on that scene to start concentrating on gallery work, and did a stint as a producer/art director for some web cartoons by marty emonds, robert williams, and richard corben. i also worked as an animator for the henry darger documentary, "in the realms of the unreal" directed by jessica yu. nowadays, i focus on my gallery work, and freelance illustrations for magazines and friends when they call.

AB: I did not think of ralph's card, but i did the color for it. it was just one of the million props we colored over the years, although for many it was the most memorable.

PC: As you've moved into a career beyond animation - explain how animal carcicature is used in your current visual expression and why?

AB: i use animals to imply very specific things most of the time. for instance, a lion is generally accepted as a leader, or king of the jungle, so i may use him as charlie manson if that is relevant to the piece. on the other hand, rabbits generally lend themselves to be the every-man in my piece, and pigs are often a police state or an elite though ignorant class. i stick somewhat close to the use of animals you find in parables, myths and fairy-tales throughout the ages. that said, a lot of my work is supposed to appear like childrens books from the 40's -60's, and anthropomorphic animals have a massive presence in that work as well. as far as my after audubon series is concerned, the use of animals is tied to audubon's original. the clothing on those animals is found in books like Fruits. the two cross paths in my mind as i look at the kids in fruits as being naturalistic studies of beautiful humans with exotic plumage being represented in their natural habitat.

PC: You use a very innocent composition technique to illustrate demon worship, the obscene, the arcane, and the obserdly humorous. Talk about the pros and cons of using animal figures in human situations.

AB: well, the composition i use is often classic symmetrical composition like the kind you might find in religious work, and i often refer to japanese woodblock prints, and of course audubon's work. i like things to be easy to read, but i dont want you reaching the end of a sentence and wandering off. using animal figures is a way to bring nostalgia into a piece, which is disarming. this gives me the confidence to talk about otherwise ugly things, and trust that the viewer will follow along. for instance, my series hell was about two college kids that went out one night and got lost in the snow. problem was, they were so high on meth that they could not describe where they were to 911 operators. after a long night in the cold, they finally got separated and died. they were found days later in the gravel pit they had so desperately tried to describe. i found the story moving, and wanted to present it as a fairy tale along the lines of a Grimm story. the use of animals in the series helped me bring it to that zone of my mind, and helped me simplify the imagery so that it would be easy for the viewer to digest and follow. one of the problems with using animals is that you can fall into the trap of telling gags, or one liners. "oh look, the lil animals are snorting cocaine! heeheehee!" i've tried to keep some political or social statement in a lot of my work, but funny animals are funny animals after all.

PC: Once I was drinking at your house and I watched your old cat jump from the first floor onto the second floor couch and then to the top shelf of your entertainment unit. It then slowly walzed out the window behind the record player. Obviously, a very gifted cat - tell me his story and why you are no longer speaking to each other.

AB: ms. peeps magillicutty jones was actually a good friend of mine for years. as head of the peeps jones space administration, she was a contender for the nobel prize in 2002, and awarded several grants for interstellar/insterspecies research. peeps had a sophisticated health regimen which included her own brand of yoga and martial arts. peeps was on par with the infamous space monkeys which recently began inhabiting mars. her associate, ms. sneaky noodle jones, an ex-KGB agent, and currently acting head of the FCIA, or feline central intelligence agency, was also endowed with incredible physical strength and agility. peeps and sneaky have gone deep undercover in an attempt to foil an incredibly evil mastermind. for my own safety, even i don't even know their current whereabouts. however, i have started working with a new scientist, and international super-spy, agent chloe bebe jones, most recently undercover as a couture model on the runways of milan. incredibly, she can spend days in an lab deep underground in the catacombs of los angeles, and be fresh as a daisy for her stylist at a moments notice.

PC: You shared a room with Tim Biskup in college. You are both animators rocking in the fine art world. Do you dare to make a comparrison of yourselves as artists and as punks?

AB: dare? i love tim, and comparing him and myself is sorta apples and oranges. tim has a DIY attitude crossed with the charm of the stars in the sky, and his love of what he's doing shines thru his art. i was lucky enough to give him his first animation job, and he's been supportive of my career from day one. far as being punks goes, ill let him take that mantel, im more of a beach boys (see 20/20 and Friends albums) kind of guy. bittersweet hits of the seventies is more my style. i think tim and i are a great example of where folks with similar backgrounds and attitudes can interpret the world around them in different ways. we have discussed our work with each other and we know what were doing is almost totally different. our backgrounds give us a lot of the same vocabulary, but we say different things.

PC: You've worked as an art director, an animator, a fine artist and more. What advice would you give to a young artist?

AB: learn how to draw. simple. also, not all art is good, not all of it is appealing to you. admit it. you dont have to like picasso, cezanne, and dali all the same just 'cuz they show up in some art history book. have some taste, follow it, and enjoy.

PC: What advice would you give to a 17 year old Christian boy who ivites you to church after being offended by your work?

AB: Well, first off i welcome the invitation. i'd hang with anyone who brings me into their house of worship for a looksee. that said, i'd advise anyone who takes offense by something i do to keep exploring. i am a gateway drug, and once you're in the door it only gets stronger.

PC: Tell me the best day imaginable in the city los angeles.

AB: yeah, well, i just spent it with korin faught the other day. we woke up late, went out to hang in griffith park with a bottle of wine and some great bread and cheese, and drew from nature. after that we ducked into a great argentinian steak place, where it was mellow and the service kicked ass. ( i love the variety here in L.A., and the way the average joe can be treated like royalty) after that we picked up some simple furniture for my balcony, cuz in southern cal, you can grill out year round and we were psyching up for that. then hangin' on the couch and drawing, and a nice long night together.

PC: Anything else?

AB: just want to say hey to all the folks checkin this out - -little do ya know its rare anyone gives two shits bout what artists do or think about, and its reassuring that im not stuck in a grotto somewhere screaming to myself. cheers.

We haven't been featuring many interviews as of late. Let's change that up as we check in with a few local San Francisco artists like Kevin Earl Taylor here whom we studio visited back in 2009 (PHOTOS & VIDEO). It's been awhile, Kevin...

If you like guns and boobs, head on over to the Shooting Gallery; just don't expect the work to be all cheap ploys and hot chicks. With Make Stuff by Peter Gronquist (Portland) in the main space and Morgan Slade's Snake in the Eagle's Shadow in the project space, there is plenty spectacle to be had, but if you look just beyond it, you might actually get something out of the shows.

Fifty24SF opened Street Anatomy, a new solo show by Austrian artist Nychos a week ago last Friday night. He's been steadily filling our city with murals over the last year, with one downtown on Geary St. last summer, and new ones both in the Haight and in Oakland within the last few weeks, but it was really great to see his work up close and in such detail.

Congrats on our buddies at Needles and Pens on being open and rad for 11 years now. Mission Local did this little short video featuring Breezy giving a little heads up on what Needles and Pens is all about.

Matt Wagner recently emailed over some photos from The Hellion Gallery in Tokyo, who recently put together a show with AJ Fosik (Portland) called Beast From a Foreign Land. The gallery gave twelve of Fosik's sculptures to twelve Japanese artists (including Hiro Kurata who is currently showing in our group show Salt the Skies) to paint, burn, or build upon.

Backwoods Gallery in Melbourne played host to a huge group exhibition a couple of weeks back, with "Gold Blood, Magic Weirdos" Curated by Melbourne artist Sean Morris. Gold Blood brought together 25 talented painters, illustrators and comic artists from Australia, the US, Singapore, England, France and Spain - and marked the end of the Magic Weirdos trilogy, following shows in Perth in 2012 and London in 2013.

San Francisco based Fecal Pal Jeremy Fish opened his latest solo show Hunting Trophies at LA's Mark Moore Gallery last week to massive crowds and cabin walls lined with imagery pertaining to modern conquest and obsession.

Well, John Felix Arnold III is at it again. This time, he and Carolyn LeBourgios packed an entire show into the back of a Prius and drove across the country to install it at Superchief Gallery in NYC. I met with him last week as he told me about the trip over delicious burritos at Taqueria Cancun (which is right across the street from FFDG and serves what I think is the best burrito in the city) as the self proclaimed "Only overweight artist in the game" spilled all the details.

Ever Gold opened a new solo show by NYC based Henry Gunderson a couple Saturday nights ago and it was literally packed. So packed I couldn't actually see most of the art - but a big crowd doesn't seem like a problem. I got a good laugh at what I would call the 'cock climbing wall' as it was one of the few pieces I could see over the crowd. I haven't gotten a chance to go back and check it all out again, but I'm definitely going to as the paintings that I could get a peek at were really high quality and intruiguing. You should do the same.

The paintings in the show are each influenced by a musician, ranging from Freddy Mercury, to Madonna, to A Tribe Called Quest and they are so stylistically consistent with each musician's persona that they read as a cohesive body of work with incredible variation. If you told me they were each painted by a different person, I would not hesitate to believe you and it's really great to see a solo show with so much variety. The show is fun, poppy, very well done, and absolutely worth a look and maybe even a listen.

With rising rent in SF and knowing mostly other young artists without capitol, I desired a way to live rent free, have a space to do my craft, and get to see more of the world. Inspired by the many historical artists who have longed similar longings I discovered the beauty of artist residencies. Lilo runs Adhoc Collective in Vienna which not only has a fully equipped artists creative studio, but an indoor halfpipe, and private artist quarters. It was like a modern day castle or skate cathedral. It exists in almost a utopic state, totally free to those that apply and come with a real passion for both art and skateboarding

I just wanted to share with you a piece I recently finished which took me 4 years to complete. Titled "How To Lose Yourself Completely (The September Issue)", it consists of a copy of the September 2007 issue of Vogue magazine (the issue they made the documentary about) with all faces masked with a sharpie, and everything else entirely whited out. 840 pages of fun. -Bryan Schnelle

Jeremy Fish opens Hunting Trophies tonight, Saturday April 5th, at the Los Angeles based Mark Moore Gallery. The show features new work from Fish inside the "hunting lodge" where viewers climb inside the head of the hunter and explore the history of all the animals he's killed.

Beautiful piece entitled "The Albatross and the Shipping Container", Ink on Paper, Mounted to Panel, 47" Diameter, by San Francisco based Martin Machado now on display at FFDG. Stop in Saturday (1-6pm) to view the group show "Salt the Skies" now running through April 19th. 2277 Mission St. at 19th.

For some reason I thought it would be a good idea to quit my job, move out of my house, leave everything and travel again. So on August 21, 2013 I pushed a canoe packed full of gear into the headwaters of the Mississippi River in Lake Itasca, Minnesota, along with four of my best friends. Exactly 100 days later, I arrived at a marina near the Gulf of Mexico in a sailboat.

I don't think at this point it needs to be written since the last update to Fecal Face was a long time ago, but...

I, John Trippe, have put this baby Fecal Face to bed. I'm now focusing my efforts on running ECommerce at DLX which I'm very excited about... I guess you can't take skateboarding out of a skateboarder.

It was a great 15 years, and most of that effort can still be found within the site. Click around. There's a lot of content to explore.

I'm not sure how many people are lucky enough to have The San Francisco Giants 3 World Series trophies put on display at their work for the company's employees to enjoy during their lunch break, but that's what happened the other day at Deluxe. So great.

When works of art become commodities and nothing else, when every endeavor becomes “creative” and everybody “a creative,” then art sinks back to craft and artists back to artisans—a word that, in its adjectival form, at least, is newly popular again. Artisanal pickles, artisanal poems: what’s the difference, after all? So “art” itself may disappear: art as Art, that old high thing. Which—unless, like me, you think we need a vessel for our inner life—is nothing much to mourn.

Hard-working artisan, solitary genius, credentialed professional—the image of the artist has changed radically over the centuries. What if the latest model to emerge means the end of art as we have known it? --continue reading

"[Satire] is important because it brings out the flaws we all have and throws them up on the screen of another person," said Turner. “How they react sort of shows how important that really is.” Later, he added, "Charlie took a hit for everybody." -read on

NYC --- A new graffiti abatement program put forth by the police commissioner has beat cops carrying cans of spray paint to fill in and cover graffiti artists work in an effort to clean up the city --> Many cops are thinking it's a waste of resources, but we're waiting to see someone make a project of it. Maybe instructions for the cops on where to fill-in?

The NYPD is arming its cops with cans of spray paint and giving them art-class-style lessons to tackle the scourge of urban graffiti, The Post has learned.

Shootings are on the rise across the city, but the directive from Police Headquarters is to hunt down street art and cover it with black, red and white spray paint, sources said... READ ON

We haven't been featuring many interviews as of late. Let's change that up as we check in with a few local San Francisco artists like Kevin Earl Taylor here whom we studio visited back in 2009 (PHOTOS & VIDEO). It's been awhile, Kevin...

If you like guns and boobs, head on over to the Shooting Gallery; just don't expect the work to be all cheap ploys and hot chicks. With Make Stuff by Peter Gronquist (Portland) in the main space and Morgan Slade's Snake in the Eagle's Shadow in the project space, there is plenty spectacle to be had, but if you look just beyond it, you might actually get something out of the shows.

Fifty24SF opened Street Anatomy, a new solo show by Austrian artist Nychos a week ago last Friday night. He's been steadily filling our city with murals over the last year, with one downtown on Geary St. last summer, and new ones both in the Haight and in Oakland within the last few weeks, but it was really great to see his work up close and in such detail.

Congrats on our buddies at Needles and Pens on being open and rad for 11 years now. Mission Local did this little short video featuring Breezy giving a little heads up on what Needles and Pens is all about.

Matt Wagner recently emailed over some photos from The Hellion Gallery in Tokyo, who recently put together a show with AJ Fosik (Portland) called Beast From a Foreign Land. The gallery gave twelve of Fosik's sculptures to twelve Japanese artists (including Hiro Kurata who is currently showing in our group show Salt the Skies) to paint, burn, or build upon.

Backwoods Gallery in Melbourne played host to a huge group exhibition a couple of weeks back, with "Gold Blood, Magic Weirdos" Curated by Melbourne artist Sean Morris. Gold Blood brought together 25 talented painters, illustrators and comic artists from Australia, the US, Singapore, England, France and Spain - and marked the end of the Magic Weirdos trilogy, following shows in Perth in 2012 and London in 2013.

San Francisco based Fecal Pal Jeremy Fish opened his latest solo show Hunting Trophies at LA's Mark Moore Gallery last week to massive crowds and cabin walls lined with imagery pertaining to modern conquest and obsession.

Well, John Felix Arnold III is at it again. This time, he and Carolyn LeBourgios packed an entire show into the back of a Prius and drove across the country to install it at Superchief Gallery in NYC. I met with him last week as he told me about the trip over delicious burritos at Taqueria Cancun (which is right across the street from FFDG and serves what I think is the best burrito in the city) as the self proclaimed "Only overweight artist in the game" spilled all the details.

Ever Gold opened a new solo show by NYC based Henry Gunderson a couple Saturday nights ago and it was literally packed. So packed I couldn't actually see most of the art - but a big crowd doesn't seem like a problem. I got a good laugh at what I would call the 'cock climbing wall' as it was one of the few pieces I could see over the crowd. I haven't gotten a chance to go back and check it all out again, but I'm definitely going to as the paintings that I could get a peek at were really high quality and intruiguing. You should do the same.

The paintings in the show are each influenced by a musician, ranging from Freddy Mercury, to Madonna, to A Tribe Called Quest and they are so stylistically consistent with each musician's persona that they read as a cohesive body of work with incredible variation. If you told me they were each painted by a different person, I would not hesitate to believe you and it's really great to see a solo show with so much variety. The show is fun, poppy, very well done, and absolutely worth a look and maybe even a listen.

With rising rent in SF and knowing mostly other young artists without capitol, I desired a way to live rent free, have a space to do my craft, and get to see more of the world. Inspired by the many historical artists who have longed similar longings I discovered the beauty of artist residencies. Lilo runs Adhoc Collective in Vienna which not only has a fully equipped artists creative studio, but an indoor halfpipe, and private artist quarters. It was like a modern day castle or skate cathedral. It exists in almost a utopic state, totally free to those that apply and come with a real passion for both art and skateboarding

I just wanted to share with you a piece I recently finished which took me 4 years to complete. Titled "How To Lose Yourself Completely (The September Issue)", it consists of a copy of the September 2007 issue of Vogue magazine (the issue they made the documentary about) with all faces masked with a sharpie, and everything else entirely whited out. 840 pages of fun. -Bryan Schnelle

Jeremy Fish opens Hunting Trophies tonight, Saturday April 5th, at the Los Angeles based Mark Moore Gallery. The show features new work from Fish inside the "hunting lodge" where viewers climb inside the head of the hunter and explore the history of all the animals he's killed.

Beautiful piece entitled "The Albatross and the Shipping Container", Ink on Paper, Mounted to Panel, 47" Diameter, by San Francisco based Martin Machado now on display at FFDG. Stop in Saturday (1-6pm) to view the group show "Salt the Skies" now running through April 19th. 2277 Mission St. at 19th.

For some reason I thought it would be a good idea to quit my job, move out of my house, leave everything and travel again. So on August 21, 2013 I pushed a canoe packed full of gear into the headwaters of the Mississippi River in Lake Itasca, Minnesota, along with four of my best friends. Exactly 100 days later, I arrived at a marina near the Gulf of Mexico in a sailboat.

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